BY STEPHANIE ESLAKE
Have you ever found yourself completely obsessed with a composer, and felt like you wanted to share their music with people all over the world?
This might just be what’s happening to Andrew Rumsey – and it’s great for our local music community.
The Sydney pianist has grown to treasure the works of Australian composer Michael Dooley, which he has gone on to present through performances across Spain, the United States, Israel, and Canada.
Now a little closer to home, Andrew continues to share this local voice as he gears up for the June world premiere of Dooley’s Piano Concerto No. 1 with the National Capital Orchestra.
Andrew returns to perform with NCO after last doing so in 2015; and returns to Canberra after graduating with his Masters from the Australian National University School of Music two years earlier.
The award-winning pianist has performed in international competitions, festivals, and events as prestigious as the 2010 World Trade Expo in Shanghai, at Carnegie Hall, the Burning Man Festival in Nevada, and even for royals Will and Kate.
But for all his achievements, Andrew has given plenty back to his community, too – not only through the performance of local works, but through his charity and non-profit work. Through a Music for Queensland concert, he helped raise more than $10,000 for the Premiere’s Disaster Relief Appeal after the 2011 floods. He also works in education, and is a representative of Kawai.
Not bad, right? We asked Andrew about his dedication to the Australian music industry before he performs another new work from within.
Andrew, you have a particular interest in Michael Dooley. What draws you to this composer?
Michael and I have been friends for several years now, and I have always been inspired by his creativity. I first became acquainted with his works with his set of 18 ‘anachronisms’, composed in the style of many well-known composers from Bach through to Bartok. I find Michael’s music particularly enjoyable to play as well as to listen to.
In our correspondence, you’d mentioned that his works are “passionate and original, without being overly intellectual”. To me, this idea is reminiscent of discussions we often hear about the accessibility of new music to audiences. Tell us what this means to you.
I would argue that there are three types of music: music for the performer, music for other musicians, and music for the general audience. I find it is a rare feat to satisfy all three, yet somehow Michael does it and speaks volumes in the process.
I personally find that the avant-garde movement has sometimes taken music in a direction away from what is inherently enjoyable to listen to, making it inaccessible to some audiences. In my opinion, new music doesn’t have to be overly complex, overly symbolic, shocking, or difficult to listen to to be considered ‘good’ new music. Pushing the boundaries of the norm and what we are used to is often healthy, but I don’t think it should automatically be a prerequisite of all modern works.
You’ve performed Michael’s works in the past, to what sounds like a very positive reception. How does an audience’s enthusiasm influence your programmatic choices as an artist?
In many ways I have been fortunate in the fact that I seem to enjoy performing what others enjoy listening to. I try to construct a program like an ‘aural meal’: you can’t please all people all of the time, but a balance of large and small dishes, and familiar comfort items combined with exotic bites that push the palate a little more, all tend to lead to a satisfying musical experience.
I typically don’t perform music that I don’t enjoy or feel connected to – I feel that I would be fake storyteller in that regard. An artist should always present a piece with genuine love and affection, as this is the most honest a performer can be.
The consistent positive reception and my ongoing enjoyment of playing Michael’s works has certainly contributed to me promoting his music. So far, I have performed his works in Israel, Canada, Spain and the United States.
With all this experience performing Michael’s music, you’ve become something of an unofficial ambassador for these compositions. How can other performers advocate so heavily for the programming of Australian music in their own careers?
I think incorporating an element of new music into any concert setting helps promote the continuation of modern art. Having said that, any artist should also endeavour to be true to themselves and specialise in whatever genre or form that speaks to them. I think performers should promote and represent any art that they deem worthy of sharing – because sharing is what art is all about.
Something performers and audiences alike can do for the betterment of modern music is be informed. Actively listen to what is out there right now! There is so much new music being composed every week – listen to it, teach it, perform it, record it; this is how great art is shared.
More broadly, your music career has seen you raise tens of thousands of dollars for charity initiatives, and you have also given so much of your talent to educational initiatives such as Support Our School and through your teaching. How important is it to you to give back to the community, while also navigating your own performance career in a competitive industry?
Without sounding self-righteous, I think the act of giving is a really important part of the human condition, whether it is supporting a friend when they need it, spending extra time with a student when necessary, going that extra mile for a family member, offering your services or finances for a worthy cause, etc. It doesn’t matter what it is – giving without the need or desire for something in return is what this world needs more of.
I have been lucky enough to help people and various causes with my music, and have always had like-minded, selfless musical colleagues by my side doing the same. Throughout history, music has been used to unite, uplift, comfort and inspire, so it makes sense to me to use music where I can in this way!
Andrew, you’re also a representative of Kawai. From a piano perspective, how does this new piano concerto lend itself to your instrument?
The piano that I will be performing on is a handmade Shigeru Kawai SK-EX concert grand from Japan. I have literally played thousands of pianos throughout my career, and I truly regard this instrument as one of the very best.
An orchestra is capable of producing a kaleidoscope of tone colours with a tremendous range of volume – the ideal piano should emulate this and be able to support or conquer when required. Coaxing different colours and timbres out of the piano adds great depth to a pianists’ playing, so you need a piano that will aid this. The audience is the canvas, the music is the paint, the instrument is the brush, and the musician is the hand – all working together!
The piece has some quite challenging passages – one section requires more than 12 consecutive notes per second – and the Millennium III carbon-fibre action is extremely light and responsive, which helps immensely.
The piano has a very rich and full sound, which helps in the really dramatic sections of the piece where the piano needs to roar. This new concerto has so many different characters and moods to portray, and the piano takes on so many different roles throughout the three movements.
You last performed with the National Capital Orchestra in 2015. How do you feel about returning to it now?
I certainly enjoyed my time with the National Capital Orchestra in 2015 – they are wonderful musicians and it was a privilege to perform with them. Also, working with maestro Leonard Weiss was always a pleasure – he is a consummate musician with integrity, patience, and amazing ideas.
I am very excited to be returning after (hopefully) growing as a musician and a person over the past four years. Since then, I have been on two international tours, participated in six music festivals, given two world premieres overseas, competed in one international piano competition, and studied with some of the best teachers in North America.
Andrew also thanks Kawai Australia for the provision of this piano, and ArtsACT for assisting Michael Dooley with the composition of his Piano Concerto No. 1.
See Andrew Rumsey perform with the National Capital Orchestra under the baton of Leonard Weiss in Rach & Rumsey, Queanbeyan Performing Arts Centre, 3pm June 16.
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If you like, you can give thanks to Stephanie for volunteering her time for Australian arts journalism. No amount too much or little 🙂
Images supplied. Andrew captured by Simon Huynh. Pay securely via PayPal. We protect your personal information.
